Gati in Theory and Practice

by Dr. Sujatha Mohan | 2015 | 88,445 words

This page relates ‘Gait of birds and animals’ of the study on the Theory and Practice of Gati (“gait”) which refers to the “movement of a character on the stage”, commonly employed (as a Sanskrit technical term) in ancient Indian Theatrics and the Dramatic arts, also known as Natya-shastra. This thesis explores the history and evolution of Gati and also investigates how the various Gatis are employed in regional performance traditions.

Gait of birds and animals

Birds, wild animals (beasts and prey) and mild animals, should be assigned a gait in accordance with their nature. The gait of lions, bears and monkeys could be adopted by the actors following the actions of Lord Viṣṇu in his incarnation as Narasiṃha.

The right foot is extended forward to five tālas, the ālīḍha posture is assumed, and the limbs are made to confirm with it. One hand is placed on the knee and the other is placed at the level of the chest. Looking around on all the four sides the chin is turned towards the shoulder. The actor should then jump at a height of five tālas taking strides accordingly for the gait of lion.

This can be performed with the karaṇa called siṃhavikrīḍitaka or siṃhākarṣita. They depict the gait of a lion. For the representation of duals in fight, as also for entering the stage, this gait of lion is to be restored by the performers. With regards to the gaits of other animals, to be used as vehicles on the stage, appropriate gaits should be assumed. Other birds and animals can be depicted through the karaṇas such as grdhrāvalīnaka, garuḍaplutaka, gajakrīḍitaka, nāgāpasarpita, mṛgapluta, vṛścita, etc.

To show the gait of serpents the feet may be entwined and moved forward to the right and left alternatively with a slanted heel performing the pārśvakrāntā.

pannagānāṃ gatiḥ kāryā pādaiḥ svastikasaṃjñitaiḥ ||
pārśvakrāntaṃ padaṃ kuryāt svastikaṃ recayediha |[1]

Nāgāpasarpita karaṇa can be performed here.

Footnotes and references:

[1]:

Ibid.XII.109.

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